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Books on the topic 'Classical singing'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 January 2023

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1

Chapman, Janice L. Singing and teaching singing: A holistic approach to classical voice. 2nd ed. San Diego: Plural Pub., 2010.

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Chapman, Janice L. Singing and teaching singing: A holistic approach to classical voice. 2nd ed. San Diego: Plural Pub., 2010.

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3

Thai classical singing: Its history, musical characteristics, and transmission. Aldershot, Hampshire, England: Ashgate, 2003.

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4

Lucie, Manén, ed. Belcanto: The teaching of the classical Italian song-schools, its decline and restoration. Oxford: Oxford University Press, 1987.

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5

Manén, Lucie. Bel canto: The teaching of the classical Italian song-schools : its decline and restoration. Oxford [Oxfordshire]: Oxford University Press, 1987.

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6

Lucia, Joyce. Mel Bay presents how to sing American: Pronunciation for jazz, rock, R & B and other non-classical singers. Pacific, Mo: Mel Bay Publications, 2002.

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7

Kowalzig, Barbara. Singing for the gods: Performances of myth and ritual in archaic and classical Greece. Oxford: Oxford University Press, 2007.

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8

Kowalzig, Barbara. Singing for the gods: Performances of myth and ritual in archaic and classical Greece. Oxford: Oxford University Press, 2007.

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9

Deva, Jeannie. The contemporary vocalist improvement course: The Deva method, a non-classical approach for singers. Boston: Rock Publications, 1994.

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10

Lucie, Manen, ed. Bel Canto: The teaching of the classical Italian song-schools, its decline and restoration. Oxford: Oxford University Press, 1989.

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11

A practical guide to North Indian classical vocal music: The ten basic of rā.gs with compositions and improvisations. New Delhi: Munshiram Manoharlal Publishers, 2008.

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12

Eros and ritual in ancient literature: Singing of Atalanta, Daphnis, and Orpheus. Piscataway, NJ: Gorgias Press, 2005.

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13

Historical vocal pedagogy classics. Metuchen, N.J: Scarecrow Press, 1989.

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14

Lincoln, Kenneth. Speak like singing: Classics of Native American literature. Albuquerque: University of New Mexico Press, 2007.

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15

Damoreau, Laure-Cinthie. Classic bel canto technique. Mineola, NY: Dover, 1997.

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16

PSYCHOLOGY OF SINGING: A rational method of voice culture (classic reprint). [Place of publication not identified]: FORGOTTEN Books, 2015.

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17

Thai Classical Singing. Routledge, 2017. http://dx.doi.org/10.4324/9781315087351.

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18

Singing and Teaching Singing: A Holistic Approach to Classical Voice. Plural Publishing, 2005.

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19

Chapman, Janice L. Singing and Teaching Singing: A Holistic Approach to Classical Voice. Plural Publishing, Inc., 2016.

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20

Chapman, Janice L., and Ron Morris. Singing and Teaching Singing: A Holistic Approach to Classical Voice. Plural Publishing, Incorporated, 2021.

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21

Chapman, Janice L., and Ron Morris. Singing and Teaching Singing: A Holistic Approach to Classical Voice. Plural Publishing, Incorporated, 2021.

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22

Weidman, Amanda J. Singing the Classical, Voicing the Modern. Duke University Press, 2006. http://dx.doi.org/10.1215/9780822388050.

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23

Hal Leonard Publishing Corporation (COR). Classical Contest Solos - Soprano: With companion CDs (Vocal Collection Series). Hal Leonard Corporation, 1997.

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24

Combs, Ronald, and Robert P. G. Bowker. Learning To Sing Non-Classical Music. Prentice Hall Trade, 1994.

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25

Combs, Ronald, and Robert P. G. Bowker. Learning To Sing Non-Classical Music. Prentice Hall Trade, 1994.

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26

Judd, Wilf. The Art of Singing: An Exploration into the Classical Voice. Notting Hill Electronics Pub, 1996.

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27

Bob, Montgomery. Learning to Sight Read Jazz, Rock, Latin, and Classical Styles. Ardsley House Publishers, Inc., 1994.

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28

LaTour, Stephen, and Julia Davids. Vocal Technique: A Guide to Classical and Contemporary Styles for Conductors, Teachers, and Singers. Waveland Press, Incorporated, 2020.

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29

Blumhofer, Edith L. Singing to Save. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190683528.003.0004.

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This chapter explores an integral aspect of Billy Graham’s crusades: music, the people responsible for it, its role in bringing diversity to Graham crusade platforms, and its influence on post–World War II Christian song. For the sixty-year span of the crusades, choir director Cliff Barrows and soloist George Beverly Shea were the most visible members of Graham’s team, setting the tone for every sermon and response. They understood crusade music as part of the ministry flow, not as entertainment. The goal of every song was the same as the goal of every sermon—bringing people to a moment of decision. Over the years, many popular artists brought to the crusades a wide variety of musical styles, from classical to hip-hop, featuring guest artists that brought ethnic, regional, gender, and racial diversity. But the dependable elements Barrows and Shea adhered to gave the crusades remarkable musical consistency.

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30

Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece (Oxford Classical Monographs). Oxford University Press, USA, 2008.

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31

Snyder, Jean E. Burleigh’s Singing Career. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0009.

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This chapter focuses on Harry T. Burleigh's singing career. When Burleigh auditioned for admission to the Artist's Course at the National Conservatory of Music, his goal was to become a classical concert singer. Like soprano Sissieretta Jones, he wanted to sing arias and art songs in recital. Like other well-known black singers, Burleigh sang for audiences in African American venues throughout the East and Midwest, as well as for mixed audiences, and on many occasions he sang for audiences that were primarily white. As he became known nationwide as “the premiere baritone of the race” and as the leading black composer in the early twentieth century, he was often invited to present full recitals, to represent African Americans as part of a program of American music, or to give a lecture-recital on spirituals. One of Burleigh's favorite accompanists was pianist R. Augustus Lawson. This chapter also examines Burleigh's contribution to the tradition of African American art music, along with his use of the works of American song composers and his collaboration with them.

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32

Thurman, Kira. Singing Like Germans. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501759840.001.0001.

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This book tells the sweeping story of Black musicians in German-speaking Europe over more than a century. The book brings to life the incredible musical interactions and transnational collaborations among people of African descent and white Germans and Austrians. It explores how people reinforced or challenged racial identities in the concert hall. Throughout the nineteenth and twentieth centuries, audiences assumed the categories of Blackness and Germanness were mutually exclusive. Yet on attending a performance of German music by a Black musician, many listeners were surprised to discover that German identity is not a biological marker but something that could be learned, performed, and mastered. While Germans and Austrians located their national identity in music, championing composers such as Bach, Beethoven, and Brahms as national heroes, the performance of their works by Black musicians complicated the public's understanding of who had the right to play them. Audiences wavered between seeing these musicians as the rightful heirs of Austro-German musical culture and dangerous outsiders to it. The book explores the tension between the supposedly transcendental powers of classical music and the global conversations that developed about who could perform it. It suggests that listening to music is not a passive experience, but an active process where racial and gendered categories are constantly made and unmade.

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33

Wierzbicki, James. The Classical Music Mainstream. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040078.003.0008.

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This chapter looks at how the American Symphony Orchestra League reported that thirty million people in the U.S. are actively interested in concert music. This does not mean jazz, popular ditties, hillbilly dance-bands, hymn singing, or wedding marches, but classical music. Writer Virgil Thomson noted in his column that whereas during the previous year ticket buyers had spent $40 million on baseball, patrons of classical music had spent $45 million. This passion for what Thomson called “serious music” had been stirred even as World War II was in progress, and by the end of the Fifties it was still going strong. Never before has there been such an interest in music in America. The changed atmosphere had been apparent even just a few years after the war's end. For composers, this made the future seem very promising.

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34

Weidman, Amanda J. Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India. Duke University Press, 2006.

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35

Kowalzig, Barbara. Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece. Oxford University Press, 2010.

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36

Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India. Duke University Press, 2006.

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37

Kowalzig, Barbara. Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece. Ebsco Publishing, 2007.

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38

Kowalzig, Barbara. Singing for the Gods: Performances of Myth and Ritual in Archaic and Classical Greece. Oxford University Press, 2011.

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39

Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India. Duke University Press, 2006.

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40

Bull, Anna. Class, Control, and Classical Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190844356.001.0001.

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Through an ethnographic study of young people playing and singing in classical music ensembles in the south of England, this book analyses why classical music in England is predominantly practiced by white middle-class people. It describes four ‘articulations’ or associations between the middle classes and classical music. Firstly, its repertoire requires formal modes of social organization that can be contrasted with the anti-pretentious, informal, dialogic modes of participation found in many forms of working-class culture. Secondly, its modes of embodiment reproduce classed values such as female respectability. Thirdly, an imaginative dimension of bourgeois selfhood can be read from classical music’s practices. Finally, its aesthetic of detail, precision, and ‘getting it right’ requires a long-term investment that is more possible, and makes more sense, for middle- and upper-class families. Through these arguments, the book reframes existing debates on gender and classical music participation in light of the classed gender identities that the study revealed. Overall, the book suggests that inequalities in cultural production can be understood through examining the practices that are used to create a particular aesthetic. It argues that the ideology of the ‘autonomy’ of classical music from social concerns needs to be examined in historical context as part of the classed legacy of classical music’s past. It describes how the aesthetic of classical music is a mechanism through which the middle classes carry out boundary-drawing around their protected spaces, and within these spaces, young people’s participation in classical music education cultivates a socially valued form of self-hood.

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41

Anagnostou-Laoutides, Evangelia. Eros and Ritual in Ancient Literature: Singing of Atalanta, Daphnis, and Orpheus. Gorgias Press, LLC, 2013.

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42

Correct Principles of Classical Singing; Containing Essays on Choosing a Teacher; the art of Singing, et Cetera; Together With an Interpretative key ... and Schubert's "Die Schöne Müllerin,". Franklin Classics, 2018.

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43

Swangviboonpong, Dusadee. Thai Classical Singing: Its History, Musical Characteristics, and Transmission (Soas Musicology Series) (Soas Musicology Series) (Soas Musicology Series). Ashgate Publishing, 2004.

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44

Heinrich, Max. Correct Principles of Classical Singing; Containing Essays on Choosing a Teacher; the Art of Singing, et Cetera; Together with an Interpretative Key to Handel's Messiah, and Schubert's Die Schöne Müllerin,. Creative Media Partners, LLC, 2018.

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45

Heinrich, Max. Correct Principles of Classical Singing: Containing Essays on Choosing a Teacher; the Art of Singing, et Cetera; Together with an Interpretative Key to Handel's Messiah, and Schubert's Die Schöne Müllerin,. Creative Media Partners, LLC, 2018.

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46

Warren, Regina. Dimash Kudaibergen Adult Coloring Book: Classical Crossover Star and Folk Pop Legend, Prodigy Musician and Singing Icon Inspired Adult Coloring Book. Independently Published, 2019.

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47

Mayer, Gabriela. Art of the Unspoken: Rhetorical Devices, Linguistic Parallels and the Influence of the Singing Voice in Classical and Romantic Piano Literature. Lang Publishing, Incorporated, Peter, 2022.

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48

With Joyful Singing: A Collection of Introits, Responses, and Benedictions from the Medieval, Renaissance, Baroque, Classical, and Romantic Periods (Director's Score), Cho. Alfred Pub Co, 2014.

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49

Nemes, László Norbert. “Let the Whole World Rejoice!” Choral Music Education. Edited by Frank Abrahams and Paul D. Head. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199373369.013.5.

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Zoltán Kodály (1882–1967), one of the foremost figures of Hungarian culture and choral music in the twentieth century, laid the foundations of a new music pedagogical approach during the times immediately preceding and following the years of World War II. His concept of music education can be summarized into two important goals: (1) to draw more people near to classical musical art while developing the necessary skills in them for its in-depth understanding and reception, (2) to create opportunities from these precious musical experiences for the shaping of personality and the creation of valuable community bonds. Kodály Zoltán’s art was centered around choral music; singing and choral singing are of paramount importance in his educational philosophy. According to him singing was the most important tool for the development of musical literacy. And choral singing was a gateway to life-long inspiration received from the performance of masterpieces.

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50

Creeber, Glen. The Singing Detective (Bfi TV Classics). British Film Institute, 2007.

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